Objects that move: Japanese Namban screens in the realm of the senses

This paper identifies and critiques the value of stillness as a necessary condition for the display and appreciation of art objects like the 16th century Japanese Namban screens, whose history and function is characterised by forms of movement. Drawing on multi-sited fieldwork in museum galleries that display these screens in Japan, Portugal and North America I will detail how the art-historical interpretation of the physical passage of these objects and their value as cultural heritage is based upon the fixed point perspectivism of networks and a visualist paradigm. Museum focused processes of conservation and display can be understood as extending this paradigm. By means of environmental controls, directed towards the location of perceptible meaning in what is available to vision and the necessary attenuation of the other senses the material movements of the object and movements of constituent materials in the object are stilled. The argument is for a sensory approach to museums and the objects within them, which in this case takes account of the material movements of the screens by engaging the senses through the ‘touch of sound’ as well as vision.

Does companionate love express itself unequally in different organizational forms (private companies, hybrid and non-governmental organizations)?

Although, the word “Love” in organizations is seen as a rare concept, but it has gained importance in management theoretical foundation. This study seeks to explore the companionate love in distinct of organizational forms (Private companies; Social organizations; NGO and IPSS) through interviews. The results propose that it is a tensional concept with a complex dynamic: tension of personal behavior, tension of professional behavior; tension of individual impact and tension of community impact. The love dynamic has common points to all organizations, but its expression depends on the specific form of the organization.